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| Joan Brown Large Still Life with Wing 1958 oil on canvas North Carolina Museum of Art, Raleigh |
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| Channing Hare Portrait of Phoebe Foster Whitney 1958 oil on canvas Portland Museum of Art, Maine |
-Vogue-(Paris)-1958-hand-colored-gelatin-silver-print-Portland-Museum-of-Art-Maine.jpg) |
| William Klein Smoke + Veil x 3, Vogue (Paris) 1958 hand-colored gelatin silver print Portland Museum of Art, Maine |
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| John McLaughlin #22 1958 acrylic on canvas Kunstmuseum, The Hague |
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| Eddy Posthuma de Boer Women in Vondelpark, Amsterdam 1958 gelatin silver print Kunstmuseum, The Hague |
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| Robert Rauschenberg Black Mail 1958 oil paint, collage and mirror on canvas McNay Art Museum, San Antonio, Texas |
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| Charles Sheeler On a Connecticut Theme #3 1958 tempera on board New Britain Museum of American Art, Connecticut |
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| Richard Diebenkorn Woman on Porch 1958 oil on canvas New Orleans Museum of Art |
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| Asger Jorn The Bridge 1958 oil on canvas Kunstmuseum, The Hague |
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| Gabriel Cualladó Self Portrait 1958 gelatin silver print Institut Valencià d'Art Modern |
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| Henri Cartier-Bresson Woman at Brussels World's Fair 1958 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Lygia Clark Modulated Space 1958 collage on paper Menil Collection, Houston |
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| Hans Arp Torso, Kore 1958 bronze Art Institute of Chicago |
-1958-gelatin-silver-print-Kunstmuseum-The-Hague.jpg) |
| Leonard Freed Untitled (Naples) 1958 gelatin silver print Kunstmuseum, The Hague |
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| Leonard Baskin Envy (series, Seven Deadly Sins) 1958 wood-engraving Delaware Art Museum, Wilmington |
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| Paul Delvaux Antinoüs 1958 oil on panel North Carolina Museum of Art, Raleigh |
from Horae Canonicae
I. PRIME
Simultaneously, as soundlessly,
Spontaneously, suddenly
As, at the vaunt of the dawn, the kind
Gates of the body fly open
To its world beyond, the gates of the mind,
The horn gate and the ivory gate
Swing to, swing shut, instantaneously
Quell the nocturnal rummage
Of its rebellious fronde, ill-favored,
Ill-natured and second rate,
Disenfranchised, widowed and orphaned
By an historical mistake:
Recalled from the shades to be a seeing being,
From absence to be on display,
Without a name or history I wake
Between my body and the day.
Holy this moment, wholly in the right,
As, in complete obedience
To the light's laconic outcry, next
As a sheet, near as a wall,
Out there as a mountain's poise of stone,
The world is present, about,
And I know that I am, here, not alone
But with a world and rejoice
Unvexed, for the will has still to claim
This adjacent arm as my own,
The memory to name me, resume
Its routine of praise and blame,
And smiling to me is this instant while
Still the day is intact, and I
The Adam sinless in our beginning,
Adam still previous to any act.
I draw breath; that is of course to wish
No matter what, to be wise,
To be different, to die and the cost,
No matter how, is Paradise
Lost of course and myself owing a death:
The eager ridge, the steady sea,
The flat roofs of the fishing village
Still asleep in its bunny,
Though as fresh and sunny still, are not friends
But things to hand, this ready flesh
No honest equal, but my accomplice now,
My assistant to be, and my name
Stands for my historical share of care
For a lying self-made city,
Afraid of our living task, the dying
Which the coming day will ask.
– W.H. Auden (1949)